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By the time the series breaks the fourth wall, Salieri transcends this story and becomes an avatar for all the depraved things desperate men will do when they’re convinced they deserve more than they’ve got. All of Amadeus’s contemporaneous stylistic and dialogue choices are a blast, but the series’ suggestion that this kind of guy is plaguing our present, too, feels the most timeless, and the most unsettling.
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The show is beautifully rendered. Unfortunately, overextending the tale into a five-hour-long television show dilutes the tension, genius and the music that made the film and Shaffer‘s play such masterpieces.
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Amadeus works as a series, not just because it looks fantastic, but that the main characters are treated as the nuanced people they were, and there seems to be less filler than one might expect.